论古代戏曲美育观念的历史演进及体系建构  

The Historical Evolution and System Construction of Ancient Opera’s Concept of Moral Education

作　　者：付桂生 FU Gui-sheng(Art Education Center,Tsinghua University,Beijing 100084)

机构地区：[1]清华大学艺术教育中心,北京100084

出　　处：《艺术百家》2024年第3期99-108,共10页Hundred Schools In Arts

基　　金：2023年度国家社科基金艺术学重大项目“戏曲音乐传承发展研究”(项目编号:23ZD04)阶段性成果之一。

摘　　要：“礼乐论化”是传统文化的核心思想,直接渗透和影响了戏曲教化观念的生成和发展。宋元时期,文人开始介入戏曲活动,他们自觉地将“诗教”观念移植进戏曲。高则诚提出“不关风化体,纵好也徒然”,奠定了“风教观”的基础,明中期剧坛掀起了教化剧风潮。随着教化剧的逐渐僵化,明后期在王阳明心学的影响下,以汤显祖为代表的一批剧作家提出了“以情为理”的教化观念。清代皇权强化,戏曲中“情”与“理”以调和的态势,逐渐融入审美性的教化观念,成为“戏教”思想的两个重要维度。The concept of “moral education through rites and music” is the core idea of traditional culture,which directly permeates and influences the generation and development of the concept of opera moral education.During the Song and Yuan Dynasties,with the involvement of literati in opera activities,the concept of “poetic education” was consciously transplanted into opera.Gao Zecheng proposed the cornerstone of the “Fengjiao Guan”(cultivation) concept by stating “It matters not whether it conforms to the standards of etiquette;even if it pleases,it is in vain”,laying the foundation for the emergence of the culture education trend in mid-Ming dynasty.As moral education dramas became stagnant,the late Ming drama circle,influenced by Wang Yangming's Xinxue(Heart-mind Theory),introduced a new concept represented by Tang Xianzu advocating “using emotions as principles”.During the Qing Dynasty,with the strengthening of imperial power,there emerged a trend in opera where “emotion” and “principle” were harmonized.The integration of the two aesthetic moral education concepts,“using emotions as principles” and “using emotions to elucidate principles”constitutes two important dimensions of the “opera education” ideology.

关 键 词：礼乐教化 “诗教” 戏曲美育 戏曲教化 

分 类 号：J809[艺术—戏剧戏曲]